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Don Giovanni, Orlando Opera
Orlando Sun Sentinel (2007)
"As the Don's hapless servant Leporello, Jason Hardy offered comic relief, both vocally and physically. His first-act "Catalog Aria," in which he enumerates the Don's many conquests to an unbelieving Donna Elvira, elicited chuckles from the audience as the number mounted. Even more effective was some second-act business, in which the Don and Leporello exchanged cloaks and the Don then coached his unwilling servant in wooing the unsuspecting Donna Elvira. Hardy and Edelmann were a perfect comic team."
La Bohème, Berkshire Opera
The Advocate (2007)
“Jason Hardy as the philosopher Colline, was outstanding. He has a flair for physical comedy and bass voice that could melt butter. In his fourth act aria, Vecchia Zimarra, in which he says a reluctant farewell to the coat he is willing to sell to aid the recovery of a dying Mimi, he was touching and nearly stopped the show in its tracks. A call of "Bravo!" was appropriate and it rang through the auditorium. His program bio indicates that he will sing Leporello in Don Giovanni soon, but quite frankly his style, his extraordinary good looks and his voice make him a perfect choice for the Don himself.”
La Bohème, Berkshire Opera
Curtain up.com (2007)
“Hardy is delightfully agile and has a beautiful booming voice.”
La Bohème, Berkshire Opera
Berkshire Eagle (2007)
“Among the other men, Jason Hardy, in his debut with the company as Colline, the philosopher, displayed a handsome bass. His farewell to the overcoat he sacrificed for Mimi's medicine, "Vecchia zimarra," is graceful and moving.”
La Bohème, Berkshire Opera
Times Union (2007)
“...bass Jason Hardy, as Colline, gave a fine weight and gravity to that always-curious aria about the old coat.”
La Bohème, Berkshire Opera
WBRK Radio (2007)
“Jason Hardy uses his beautiful and vibrant voice to moving effect as Colline.”
Così fan Tutte, Connecticut Opera
Hartford Courant (2007)
“…bass Jason Hardy and struck just the right balance between low and high comedy; Hardy's Don Alfonso was by turns dignified, cynical, fey and commanding.”
La cenerentola, Opera Birmingham
Birmingham News (2007)
“…bass Jason Hardy played a fine buffoon, wielding his cane precariously and belting out his daughters' defense with bumbling authority.”
Mass in B Minor, National Chorale
The New York Sun (2006)
“Bass Jason Hardy, who was impressive last season at City Opera in Handel's Acis and Galatea, was in finest voice, nimbly presenting the Et in Spritum sanctum…”
Acis and Galatea, New York City Opera
Opera News (2006)
“Brilliantly played by Jason Hardy”
Acis and Galatea, New York City Opera
New Yorker Magazine (2006)
“Jason Hardy brought a strong bass voice and goofy dance moves to the role of Polyphemus”
Acis and Galatea, New York City Opera
The New York Times (2006)
“Jason Hardy's bass, in the role of Polyphemus, had size, quality and was not intimidated by Handel's decorative vocal detail.”
Elixir of Love, Cleveland Opera
Opera News (2006)
“…an ideal Dulcamara… made his singing an object lesson in bel canto…his characterization was funny and full but never grotesque.“
Messiah, Alabama Symphony Orchestra
The Birmingham News (2005)
“...the clear standout…brimmed with expression…a fierce dramatic depiction…the evening's high point.”
Elixir of Love, Cleveland Opera
The Plain Dealer (2005)
“…brings canny mischievousness to the role. His robust bass abounds in tonal beauty and flexibility…”
Don Giovanni, Wolf Trap Opera
Opera News (2005)
“...a commanding bass.”
La cenerentola, Wolf Trap Opera
Washington Times (2005)
“… a bass with low notes and an excellent sense of physical timing”
La cenerentola, Wolf Trap Opera
Washington Post (2005)
“(in) one of the great basso buffo roles in Italian opera, Jason Hardy brought all its acting and singing potential vividly to life.”
The Latest Word, Recital with Steven Blier
Washington Post (2005)
“With a powerful burgundy voice, bass Jason Hardy won the audience over with his humorous antics and expression.”
La Bohème, Palm Beach Opera
Sun-Sentinel (2005)
“As Colline, Jason Hardy showed a magnificent bass voice, and delivered an imposing, richly sonorous farewell to his overcoat.”
Debut Recital, Marilyn Horne Foundation
The New York Times (2005)
“Mr. Hardy showed a healthy sounding bass... The program played especially to Mr. Hardy's good diction.”
La Serva Padrona, New Trinity Baroque
Reading Eagle/Reading Times (2004)
“Hardy's voice was warm, creamy and easily produced, capable of
conveying all the nuances of his role…”
La Serva Padrona, New Trinity Baroque
Atlanta Journal-Constitution (2004)
"Hardy is a major discovery. His bass voice is wide and ringing, with an
easy delivery and an Italianate “ping” in his tone... Hardy was a most
powerful presence"
Elixir of Love, Wolf Trap Opera
Opera News (2004)
“Jason Hardy seized the role of Dulcamara. His bass voice and theatrical personality vividly command the stage.”
Elixir of Love, Wolf Trap Opera
Washington Post (2004)
“Bass Jason Hardy was a splendid, larger-than-life Dulcamara who found
just the right balance of chicanery, opportunism and humor. He handled the patter songs with agility and clarity and both the musical and dramatic
aspects of his assignment with a fine sense of timing.”
Elixir of Love, Wolf Trap Opera
Washington Times (2004)
“brings Dulcamara to life with his broadly comic skills and his clear, unmuddled voice.
Southeastern Festival of Song Opening Gala
Atlanta Journal-Constitution (2004)
“…created a stir. Jason Hardy best conveyed what SEFoS is trying to do:
regale in the human voice but, more meaningfully, tell compelling stories
in music.”
Sparafucile, Rigoletto, Opera Birmingham
The Birmingham News (2004)
“a sinister Sparafucile with a solid bass voice.”
Palm Beach Opera Competition
Palm Beach Daily News (2003)
“distinguished, forceful, and dramatically effective”
Marguerite McCammon Voice Competition
Fort Worth Star Telegram (2003)
“...performed so impressively...”
Tales of Hoffmann, Palm Beach Opera
Palm Beach Daily News (2003)
“Jason Hardy sang Crespel with a deeply resonant bass”
Messiah, Annapolis Chorale
The Baltimore Sun (2000)
“…has enormous dramatic flair... a voice of great power and richness combined with a remarkable agility for vocal embellishment... enthralling.”
Annapolis Opera Competition
The Baltimore Sun (2001)
“...his acting skills and a warm, resonant voice... revealed a degree of maturity well beyond his years.”
Die Fledermaus, Merola Opera
San Francisco Chronicle (2000)
“…his Fred Astaire physique and effortless elegance were a delight.”
Creation, Annapolis Chamber Orchestra
The Baltimore Sun (2000)
“Young, expressive voice full of character, elegance, and… more than a
little sex appeal... Splendid: virile and strong and full of interpretive fun.”
Gondoliers, Young Victorian Opera Theater
Baltimore Magazine (1999)
“Best Supporting Actor 1999”
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